MUSEUM PHOTOGRAPHY: Yes But!

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Photography in museums once-was a NO NO! The rationale was mostly to do with cutting out the competition for the museum's POSTcards sales – but that was a bit of a furphy really. So too is the idea that it's designed to "protect artists' intellectual property" as one can copy an original work under copyright for the purposes of 'research' and 'critical review'. Actually, in  a 21st C context, these bureaucratically driven SAYno policies damage artists in the end because they mitigate against CITIZENinitiated critical review – and likewise citizen musing/research. In a PUBLIC MUSEUM/GALLERY most often this kind of BUREAUCRATICnonsense is a bit much.  All this beg the questions ... Why do museums exist and who for? ... click here to read more

NOTE TO THE GRAPHICS

• TOP LEFT = YES to photography BUT NO to FLASHphotography
• TOP RIGHT = YES to photography BUT with visitors required to register that they agree to being licenced under certain conditions – like undertaking to restrict their photography to research and personal review
• BOTTOM LEFT = NO to photography because the target image(s) are Restricted Images and/or restricted because the target image(s) are restricted because it is Cultural Property – and in deference to the cultural sensitivities linked to the target image
• BOTTOM RIGHT = INFORMATION available via the QRcode

Visitors to the Louvre 'snapping' the Mona Lisa

antiCONTROLfreak Glasses for Museums

The Google Glass is just one of many forthcoming wearable devices.
Photograph: PR company handout

Now here is a bit of news that'll frighten the pants off CONTROLfreak MUSEUMmanagers! People, heaven forbid, will be able to look at something, record an image, use it in multiple ways AND the sign at the door saying "DO NOT DO IT" will amount to 'nothing much'. However, IF they really think about it, they'll quickly work out that these 'glasses' will work for them really really well ... Not so long ago the reporter here was skiing down a slope in France, wearing a pair of ski goggles which, when he looked down and to his right, showed him his precise location, how fast he was going, where the ski run went (useful in a whiteout). It also told him if he had a phone call and, via a wrist-worn ski-glove-friendly control, allowed him to switch between answering calls or changing the music on his headphones ... The goggles, made by Recon Instruments, are popular with snowboarding professionals who want to keep tags on their day's accomplishments – one of the settings tells you how high you have just jumped. For good measure, while you are enjoying the après-ski, you can download that data to a computer ... The goggles are part of the next wave – the one that experts say will, in time, enhance and even supplant the smartphones being carried by around half of the mobile-using population in the west ... EVERYONE will be wearing them and in museums too as they'll be so good for musing! ... click here to go to source

A Discussion Paper relevant to all this ... CLICK HERE

Off the Kerb – Transgression

Transgression at Off the Kerb, 66B Johnston Street, Collingwood, until August 2nd. Curated by Michael Carolan was the Second Collectives ‘Transgression’ at ‘Off the Kerb’ Gallery on Johnston Street. The artists involved within the show were all RMIT MFA and BFA graduates, who put together a brilliant show based around the process of transgressing from their normative practise methods and media to create a curated show that presented both cohesion and jarring. The show took over the entire gallery, including the linking corridors and staircase, and the exhibited artists were: Beka Hannah, Caitlin Telford, Jess Sutton, Jordan Hoffman, Kate Walsh, Leonie Connellan, Mary Hackett, Michael Carolan, Paul Dew and Tul Suwannakit. The front room housed the works of four artists. A faux psychic reading set up, with QRcodes linked to videos made by Cait Telford clashed aesthetically but integrated conceptually with the other works. A custom made life size jigsaw puzzle adorned one wall, and on the facing side was a constellation type drawing, applied directly to the wall .... click her to read more and see more  

Words – Sheena Colquhoun

Photos – Andy Donohoe

RUBBINGzone 08

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In art, frottage (from French frotter, "to rub") is a surrealist and "automatic" method of creative production developed by Max Ernst.

In frottage the artist takes a pencil or other drawing tool and makes a rubbing over a textured surface. The drawing can be left as is or used as the basis for further refinement. While superficially similar to brass rubbing and other forms of rubbing intended to reproduce an existing subject, and in fact sometimes being used as an alternate term for it, frottage differs in being aleatoric and random in nature.

It was developed by Ernst in 1925. Ernst was inspired by an ancient wooden floor where the grain of the planks had been accentuated by many years of scrubbing. The patterns of the graining suggested strange images to him. He captured these by laying sheets of paper on the floor and then rubbing over them with a soft pencil

Noun

frottage (usually uncountable; plural frottages)

1. (uncountable, art) A method of making an image by placing a piece of paper against an object and then rubbing over it, usually with a pencil or charcoal.
2. (countable, art) An image so made.
3. (uncountable, sexology) The practice of rubbing parts of the body against those of a consenting partner for sexual stimulation.

DAIMLERminimalism

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The first exhibition in the 'Minimalism Germany 1960 series in 2010 comprehensively showed major trends in reduced, abstract 1960s art in Germany from the Daimler Art Collection. The second part concentrates on a small number of protagonists who essentially represent a specifically German aspect of Minimalism as an international trend in the 1960s with large-scale work, serial picture objects and action-oriented work concepts. The exhibition takes the example of striking protagonists, bringing together about 40 works to reflect on trends in Conceptual Art, Minimalism and seriality, linked with the cities of Frankfurt, Düsseldorf, Hamburg, Stuttgart and Berlin ... click here to read more

Dieter Roth @ Fruitmarket Edinburgh

Dieter Roth Diaries 2 August–14 October 2012 The Fruitmarket Gallery 45 Market Street, Edinburgh,  http://www.fruitmarket.co.uk ... http://www.fruitmarket.co.uk/exhibitions/archive/ 

The Fruitmarket Gallery is proud to present this exhibition of the work of Dieter Roth (1930–1998), one of late-twentieth-century art's major figures. Roth was an artist of astonishing breadth and diversity, producing books, graphics, drawings, paintings, sculptures, assemblages, and installation works involving video, sounds, and recordings. He was also a composer, musician, poet, and writer ... Art and life for Roth flowed readily into each other, and much of the material for his artistic output came from his everyday life. This exhibition is the first to focus on the theme of the diary in Roth's work. Roth kept a diary throughout his life, and saw all art-making as a form of diary keeping. His diaries were a space to record appointments, addresses, lists, and deadlines but also ideas, drawings, photographs, and poems. They teem with graphic exuberance, and proved a rich source for his work. The Fruitmarket Gallery is fortunate in being able to show Roth's diaries to the public for the first time, as well as the hand-produced, photocopied 'copybooks' he made from them to sell to favoured collectors and friends, and two major installation works. Many of Roth's major works can be understood as kinds of diaries.

Poetry & Pottery

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FOUNDplace for the poetry is at the 

Château d'Angers [click here], Loire Valley, France.

Image courtesy of GOOGLEearth

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FOUNDplace for the pottery [Pole of Porcelain]   is 

a few ks upstream at the village of Mehun-sur-Yèvre

Image courtesy of GOOGLEearth

FINDER: Tim Thorne 2012

OLYMPICS X 2012

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"Two thousand and twelve words, six thousand and thirty six syllables, sixteen thousand and ninety six letters"

art and resistance

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Disobedience Archive is an ongoing, itinerant atlas of the various contemporary resistance tactics: from direct action to counter-information, through constituent practices and forms of bio-disobedience. It accommodates a variety of film material by artists, activists, filmmakers, philosophers and political groups ... The selection of films is organised in eight chapters: the first is about the 1977 demonstrations and riots in Italy, followed by sections on social changes around the Berlin Wall, the social upheavals in Argentina in 2001, the anti-globalization movement’ developments from 1994 onwards, experimental forms of education, community and urbanism, the Israel-Palestinian conflict, political and activist work in the former Eastern Bloc, the effects of 09/11 and a new section dealing with events surrounding what has come to be called the Arab spring.

SWISS INSTITUTE IN NEW YORK

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For her exhibition, Weinberger has composed a series of electronic loops mixed in a constant cadence that recalls the rhythmic pulse of a beating heart (80-140 beats per minute). While minimal, the various tracks resound in a warm, constant and reassuring tempo that is soft, drawn out, and ambient. The loops are installed via a series of multi-directional speakers, each emitting sound. Long white curtains adorn the walls ... click here to read more

THEIR BLOG

QVMAG …come to life…

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A collaborative exhibition generated by CAST & QVMAG in Launceston

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The Examiner: Disturbing images give life to new exhibition ... click here

King of Twee and Painter of Light

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Thomas Kinkade (January 19, 1958 – April 6, 2012) was an American painter of popular realistic, bucolic, and idyllic subjects. He is notable for the mass marketing of his work as printed reproductions and other licensed products via The Thomas Kinkade Company. He characterized himself as "Thomas Kinkade, Painter of Light," a phrase he protected through trademark but one originally attributed to the English master J.M.W. Turner (1775–1851). He was claimed to be "America's most-collected living artist" before his death with an estimated 1 in every 20 American homes owning a copy of one of his paintings. The world has lost a phenomena – or at least the USA has.

Links to KINKADEstories [1] [2] [3]

Beijing Commune

Cigarettes and Ashtray
installation
13 x 13 cm
2006

CLICK HERE                                                                         

http://www.beijingcommune.com/EnAbout.aspx

ARTapplication

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QR Something on Cultural Tourism

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New Global QR Paradigm For Museums & Art

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QR CODES EXPLAINED CLICK HERE

The world is changing and the ground is shifting – and constantly. What's true of the world is just as true in musing places (museums!) an QR CODES are appearing all over, even in museums. In musing paradigms QR CODES  offer new opportunities for curator to engage with musers both inside the museum and outside it. Recalcitrant curators will want to maintain the status quo but it is too late by far and QRart is upon us and as likely as not facilitating multifarious understandings of 'things'.   

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Negative Space

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Rachel Whiteread‘s sculptures draw our attention to the concept of space, something that rarely think about even though we spend our lives navigating 'space'. Mostly we are blissfully unaware of the space/spaces we occupy. Working to take negative space and make it a tangible reality, Whiteread uses her sculptures in order to physically define what surrounds, and indeed defines, objects. 

Using casting materials such asresin, plaster and rubber, she casts the negative space surrounding domestic and household objects. Through her sculptures, Whiteread explores ideas of absence, memory, and architecture, revealing the space we cannot define and rarely pay attention to ... click here to read more about Whitehead.

Zhejiang Provincial Museum, Hangzhou

Click here to go to the Wuzhou Celadon Jar

Click here to go to the "X-ray Pig"

Established in 1929, Zhejiang Provincial Museum (formerly known as the West Lake Museum of Zhejiang Province) is a comprehensive museum devoted to humanity studies integrating collection, exhibition and research with its over 100,000 collected cultural relics.

Among them, there are many world-famous exemplars, including pottery wares, lacquer wares, wooden pieces, bone tools and ivory objects of pre-historic Hemudu Culture, jade and silk fabrics of pre-historic Liangzhu Culture, bronze wares of the ancient Yue State, celadon wares of the Yue Kiln, Longquan Kiln and the Southern Song Imperial Kiln, copper mirrors of ancient Guiji and Huzhou, works of calligraphers and painters of Zhejiang Province in the Ming and Qing Dynasties.

 At present, the Museum features some principal exhibitions, e.g. “Seven Thousand Years of Zhejiang  – Exhibition on Zhejiang’s Historic and Cultural Relics”, “The Best of Celadon” and “Exhibition on Folk Customs of Ancient Yue Families”. With rich and colorful cultural relics throughout history and unique display methods, these exhibitions reflect the long and enduring history of Zhejiang Province in various layers and from diversified angles. 

The Zhejiang Provincial Museum irregularly holds about 40 exhibitions from home and abroad every year.

Within the museum there is the Hangzhou Cultural Relics Protection & Scientific Research Base. The Base is financed by the People’s Government of Zhejiang Province, completed in May 2004 and is now a cultural relics protection & scientific research base in the service of the whole cultural and museum system of Zhejiang Province. The Base aims at providing solutions to the existing problems in the cultural relics protection and research in the museums of Zhejiang Province, spreading basic cultural relics protection techniques to the Province and key technical services to the whole country, with the support from Zhejiang Provincial Museum.

MONEY, ARTISTS & MUSEUMS

SURVEY SAYS:
the W.A.G.E. Artist Survey
results are in!www.wageforwork.com


W.A.G.E. Manifesto online


W.A.G.E. = Working Artists & The Greater Economy


W.A.G.E. is based in New York but in many ways it is the fraction that represents the whole

W.A.G.E. is a work-in-progress with an agenda to provide an equitable fees schedule and 'best practice' models by late 2012

The results of the 2010 Artist Survey are now available at the new W.A.G.E. website. Read or download the complete report and survey results in graphic form here.

In 2010 W.A.G.E. launched an online survey to gather information about the economic experiences of artists working with over 67 nonprofit arts institutions in New York City's five boroughs between 2005 and 2010. The survey collected data about how cultural producers were compensated for exhibitions, performances, screenings, and lectures.

The results indicate that there is little consistency in institutional payment practices across New York’s five boroughs, with compensation ranging from full coverage of expenses and the payment of fees to no remuneration of any kind.

In response, W.A.G.E. is developing a certification program that will recognize nonprofit organizations that voluntarily adhere to an established best practices model and demonstrate a history of – and commitment to –paying artist fees that meet a minimum payment standard. W.A.G.E. Certification is being developed through a Research Partnership with Artists Space, together with active participation of the public. For more information about past and future programs please visit the W.A.G.E. website and Artists Space online.

the auxiliaryMUSEUM Tasmania has joined W.A.G.E

Founded in 2008, Working Artists and the Greater Economy (W.A.G.E.) is a New York-based activist group that focuses on regulating the payment of artist fees by nonprofit art institutions, and establishing a sustainable model for best practices between cultural producers and the institutions which contract their labor. W.A.G.E. is a 501c3 nonprofit organization. Find them at www.wageforwork.com.

W.A.G.E. works to draw attention to economic inequalities that exist in the arts, and to resolve them.

W.A.G.E. has been formed because as visual & performance artists and independent curators, artists provide a work force. W.A.G.E. recognizes the organized irresponsibility of the art market and its supporting institutions, and demands an end of the refusal to pay fees for the work we’re asked to provide: preparation, installation, presentation, consultation, exhibition, and reproduction. 

W.A.G.E. refutes the positioning of the artist as a speculator and calls for the remuneration of cultural value in capital value. 

W.A.G.E. believes that the promise of exposure is a liability in a system that denies the value of our labor. As an unpaid labor force within a robust art market from which others profit greatly, W.A.G.E. recognizes an inherent exploitation and demands compensation. 

W.A.G.E. calls for an address of the economic inequalities that are prevalent, and pro-actively preventing the art worker's ability to survive within the greater economy. 

W.A.G.E. advocates for developing an environment of mutual respect between artist & institution. 

W.A.G.E demands that artists receive payment for making the world more interesting. 

Click here to see the Australian National Association of Visual Artists Artist's Fees action